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"Leech-Wilkinson, Daniel"
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Cortot's Berceuse
Alfred Cortot's 1920 recording of Chopin's Berceuse has some unusual properties — illustrated here in a discussion of the relationships among rubato, loudness, variation form and melody — which shed new light on the score and exemplify the pianist's ability to trigger embodied metaphor with unusual intensity. Comparisons with other recordings are made, and Jeffrey Kallberg's image of the Berceuse as a music box is considered in relation to the layout of the score and Cortot's performance. Drawing on the work of Antonio Cascelli, I compare Schenker's and Cortot's readings of melodic structure, which demonstrate the ecological validity of Cortot's construction. Some of the many respects in which analysis depends upon performance are discussed, as is the likelihood of very different performances in the future and the expectation that analysis will adapt itself to changing approaches to performance. The article is illustrated by Sonic Visualiser analyses presented as YouTube videos.
Journal Article
Listening and Responding to the Evidence of Early Twentieth-Century Performance
Early recordings raise fundamental questions about our response to music. Why do these performances seem so strange to us? How could they ever have made musical sense to listeners? How might we make sense of them now, in our very different music-cultural environment? This paper looks at some of the ways in which musical sounds model other processes involving change over time. A mechanism is proposed that may underlie the cross-domain mappings generating musical meaning. Music is seen to be exceptionally adaptable to the modelling of other experiences, able to offer many potential likenesses, among which those with most relevance to what an individual brain already knows and believes are favoured by conscious perception. Performance and perception styles change over time as certain kinds of potential meaning are selected for their relevance to other aspects of contemporary experience. The model helps to explain how subjectivity is constructed and how it changes.
Journal Article
Compositions, Scores, Performances, Meanings
The standard model of musical transmission, in which composers embody their intentions in works which they encode in scores which performers (and scholars in their imagination) decode as accurately as possible for audiences, is unpicked in the light of the evidence of recorded performance. It is replaced with a model that recognizes the large extent to which performances trigger the generation of musical meaning in the minds of listeners, and the extent to which changes in performance style cause those meanings to change. Some implications for thought about music are considered.
Journal Article
Articulating Ars Subtilior song
There has been very little research on the way medieval musicians shaped phrases in performance, which is perhaps not surprising, for one might think there could hardly be any evidence. About 20 years ago Margaret Hasselman and David McGown argued that something might be learnt about woodwind articulation from onomatopoeia in the texts of 14th C. chaces and so-called realistic virelais.
Journal Article
